Metro Beats

Metro Beats - Heart of the City
Posted by livefromthefrontline

Know for his intricate melodies and driving, dynamic beats, Brad Kozlowski aka Metro Beats, has quickly risen up the ranks to establish himself as one of the most sought after, independent producers in the industry. His talents have spawned collaborations with underground and mainstream artists alike, boasting a discography to rival even the most established producer.

Disclaimer: You know what I hate about the West Coast, besides the heat and gang violence? You can’t get there on the six train or drive to it using one of Manhattan’s 2,027 bridge and tunnels. This is, or was, a problem for me because I normally meet, and discuss hot topics with, all my interview subjects in person, at a local eatery or bar in their respective areas.Unfortunately for me Mr. Kozlowski lives somewhere on the West Coast and travel expenses aren’t covered by this site’s management therefore I had no other choice but to conduct this interview the new fashioned way, via aim, email and blackberry ( Via La Sidekick ).

LFTFL: First and foremost, for the sake of those who aren’t familiar with who you are and what you do, can you take a second to introduce yourself?
MB: I am Metro aka Metro beats. I am a urban music producer from the New York/Connecticut area. I’ve been in production for close to 6 years. I am also a producer with Team Afficial

LFTFL: What sparked your interest in music production? I know you didn’t wake up one mourning wanting to be a music producer, something had to spark your interest, what was it?
MB: That’s a good question. I can remember my mother playing and collecting instruments. When I was young, my brother Andrew and I actually started out writing songs. I’m talking at like 8 years old. I eventually started DJ’ing and that led me down the path to production. I was playing records and I would think the track could of been crazier with something else in it. I have always had a ear for hit records and I almost went the A&R route. It would kill me not to be able to create music though. That’s what led to me out to LA and to the Musicians Institute, Recording Institute of Technology, which really set me on the path I’m on today.


LFTFL: The transition from DJ to producer seems to be as natural as the transition from teenager to adult, why do you think such a large percentage of DJs get into production?
MB: I think as a DJ you’re always looking for those hit records, those records that move the people. As a producer you become the person who’s trying to create those hit records.

LFTFL: Who are some of your musical influences, and how have you adapted any of their styles into your own?
MB: I am moved by music in general. Lamont Dozer’s Black Bach album is one of my favorite, classic, soul records. That album is a classic. The instrumentation is amazing. On the flipside, I am a huge Radiohead fan. Electronically and musically they have been able to to break down barriers. I also like Coldplay, the Muse, and Killswitch Engage. The Lost Boys track, 1,2,3 Thousand Problems is also a classic. I still listen to that joint on a monthly basis. I think you can really hear my influences in my music because I try to capture emotions. Lamont Dozer to Killswitch Engage to Lost Boyz all have very different sounds, but the underlying theme there is emotion.

LFTFL: Are you still influenced by others in your same field or do you steer clear of other people’s music to avoid subconsciously molding your sound after theirs?
MB: I am definitely influenced by other producers and what they’re doing. Timbaland is creating some new lanes so I pay close attention to his work. I’m also a fan of Stargate, those guys write current hit pop records. You have to listen to what’s out there or you risk becoming irrelevant. What I try to do is find the root of what interests me. I’ve been listening to, and studying, 80’s new wave music for the last six months because the sounds have been trending towards those style effects. I’m not copying those sounds, even while you’re listening to other people’s music you have to maintain your own sound. I learned that the hard way. I took part in a Dynamic Producer beat battle competition a while back, at the time I was writing a lot of records for Dipset. I dropped the first track and people started chanting “Dipset”. The experience was kind of a wake up call for me, it taught me not to put myself in a box.

LFTFL: What did your first set up consist of?
MB: When I first moved out to LA, my roommate had a Roland Groove box MC-505. I had been a DJ for a while, so I had Technique 1200’s (before those Gemini’s) and a Stanton mixer. I used to get out of work late and work on the same song for a week straight till like three o’clock in the morning. The sounds on that machine were so thin, It had these little buttons instead of keys or pads. I learned to write piano and synth lines layers because it was impossible to play the - Live From The Frontline